Sunday, April 17, 2011

Unlike many mainstream critics, I actually enjoyed 2008’s intriguing future shooter, Frontlines: Fuel of War. What it lacked in groundbreaking mechanics it more than made up for in polished gameplay, nice graphics, and some compelling combat scenarios. To have that team working on a game with a premise as provocative and important as the one belonging to HOMEFRONT seemed like a smart match in the making. The story itself, penned by Apocalypse Now co-writer and Red Dawn creator, John Milius, represents a strong look into one political fantasy that is chilling because of its willingness to bring the conflict home. Despite promising sales though, the game’s tepid critical response perhaps reveals a studio unable to do justice to such complex plot potential. The overall effect is one of having made no real progress from Frontlines.

Unfortunately, the musical score has also taken a step firmly in the wrong direction. Following the Frontlines score, which was at least moderately good if a little bland, MATTHEW HARWOOD’s music for HOMEFRONT delivers an overly long salad of mediocrity that does the game’s narrative almost no justice.